I visited 紅花の館 (Benibana no Yakata) in Shirataka City to learn about safflower dyeing. There is a long history of safflower production as a dyestuff in Yamagata. Originally imported from China, it seems, the plant was selectively cultivated in Yamagata to produce flowers with a higher amount of red pigment (carthamin).
According the Konno-sensei, the Benibana Meister of 紅花の館, the flowers produced in Yamagata contain about 0.1% carthamin, while those still produced in China and the U.S. (for making cooking oil) only contain about 0.01%.
Even still, it seems that a vast quantity of Yamagata-grown flowers are required to produce the dyestuff, approximately the petals of about 300 flowers to produce only one monme (3.78g) of beni-mochi, which is the dried/concentrated preparation of safflowers made in Yamagata for dyeing. When dyeing, the weight of beni-mochi must be equal to the weight of what is to be dyed, and to achieve stronger hues, dyeing is often repeated 4-12 times. As such, safflower-dyed goods were once considered a treasure. With the advent of chemical dyes, the demand has decreased significantly, but for the sake of preserving the historical technique, some such as Konno-sensei work to maintain production and educate others about this culture.
To make beni-mochi, like the ones shown here, the fresh safflowers must be oxidized to remove the present yellow pigment, which is much more plentiful than the red pigment. This is done in by soaking the fresh petals in water, discarding the water multiple times. The yellow pigment is water-soluble, whereas the red is not, so by this process, the red pigment is concentrated. After draining the soaked flowers, they are pounded to make the red pigment more available, then the resulting mass is formed into beni-mochi, one monme in weight, flat, and round, and allowed to dry, in which state they can stored.
For dyeing, the beni-mochi is soaked in water for 2 days prior to further release the yellow pigment. When ready to dye, the dye bath is made alkaline (by adding soda, ash, or etc.) to release the red pigment. The item to be dyed is wetted, then immersed in the dye bath, then an acidic agent is added to adhere the pigment to non-protein containing fibers such as cotton. The item is stirred and soaked in the dye bath for about 15 minutes, at which point the dye bath will be depleted of most of the red pigment.
The dyed item is rinsed and the process can be repeated, or the item dried in the shade to finish. According to Konno-sensei, the dye is not light-fast; it will lose strength of color easily when exposed to light. This is a handkerchief I dyed with a clamped resist. It was dyed only once to achieve this color.
The 紅花の館 has lots to share regarding the history of safflower production in Japan, and information about the industry and preservation of this art today.
Konno-sensei showed me these kuchibeni, a safflower preparation for cosmetic use. The one on the left is considered higher quality but both are concentrated pigment in a ceramic dish. When wetted the green-appearing pigment turns bright red and can be applied to lips or skin.
At a nearby rest stop (道の駅) they were selling washi with safflower petals combined in the pulp. Benibana is a specialty of Shirataka.
I used the leftover dye bath liquid from the experience with Konno-sensei to dye some paper thread I spun. I will use this thread as weft on a weaving project.
First dyeing.
Second dyeing.
Third dyeing.
I suspect that the color may be more vibrant had this dye bath liquid not been used previously, or if I had used it sooner (as Konno-sensei advised it would weaken with time).
Many thanks to Konno-sensei for teaching me! I plan to experiment more with benibana-zome and to try growing my own at home. Check out the 紅花の館 website to learn more: http://www.sgic.jp/k/